DER GOLEM
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I am the Monster of fate. I am made of clay.
Male
102 years old
Czech Republic
Last Login: 1/25/2009
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apathetic
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| General | In Jewish folklore, a golem (????, sometimes, as in Yiddish, pronounced goilem) is an animated being created entirely from inanimate matter. In modern Hebrew the word golem literally means 'cocoon', but can also mean "fool", "silly", or even "stupid". The name appears to derive from the word gelem (???), which means "raw material".
 | | Movies |
[ m o v i e s ]
DER GOLEM
[The Golem, the Monster of Fate]
1914. directors: Henrik Galeen and Paul Wegener.
writers: Henrik Galeen, Gustav Meyrink.
Germany, silent movie, 60 min. this movie has been lost.
Der Golem, wie er in die Welt kam
[The Golem: How He Came Into the World]
1920. directors: Carl Boese and Paul Wegener.
writers: Paul Wegener.
Germany, silent movie.
Der Golem und Die Tänzerin
[The Golem and the dancing girl]
1917. Directors: Rochus Gliese, Paul Wegener.
Writer: Paul Wegener.
Germany, silent movie.
Císaruv pekar a pekaruv císar
[The Emperor and the Golem]
1951. Director: Martin Fric.
Writers: Jirí Brdecka, Martin Fric.
Czechoslovakia, 142 min.
Le Golem
[The Golem: The Legend of Prague]
1936. Director: Julien Duvivier.
Writers: André-Paul Antoine, Julien Duvivier.
France/Czechoslovakia, 83 min.
Le Golem de Montréal
2004. Director: Isabelle Hayeur.
Writer: Isabelle Hayeur.
Canada, 90 min.
Golem
2000. Director: Louis Nero.
Writers: Gianni Milano, Louis Nero.
Italy, 104 min. | | Books |
[ b o o k s ]
Bilski, Emily B. (1988). Golem! Danger, Deliverance and Art. New York: The Jewish Museum. ISBN 8-7334-0493-0.
Dennis, Geoffrey (2007). The Encyclopedia of Jewish Myth, Magic, and Mysticism. Woodbury (MN): Llewellyn Worldwide.
Gershon, Winkler (1980). The Golem of Prague: A New Adaptation of the Documented Stories of the Golem of Prague. New York: Judaica Press.
Goldsmith, Arnold L. (1981). The Golem Remembered 1909-1980: Variations of a Jewish Legend. Detroit: Wayne State University Press.
Idel, Mosche (1990). Golem: Jewish Magical and Mystical Traditions on the Artificial Anthropoid. Albany (NY): State University of New York Press.
| | Heroes |
the golem
by Gustav Meyrink
The Golem is a novel written by Gustav Meyrink in 1914.
First published in serial form as Der Golem in 1913-14 in the periodical Die weissen Blätter, The Golem was published in book form in 1915 by Kurt Wolff, Leipzig. The Golem was Meyrink's first novel.
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DER GOLEM's Details
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| Status: | Single | | Zodiac Sign: | Capricorn |
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Origins of the word
The word golem is used in the Bible to refer to an embryonic or incomplete substance: Psalm 139:16 uses the word "gal'mi", meaning "my unshaped form" (in Hebrew, words are derived by adding vowels to triconsonantal roots, here, g-l-m). The Mishnah uses the term for an uncultivated person ("Ten characteristics are in a learned person, and ten in an uncultivated one", Pirkei Avoth 5:7). Similarly, golems are often used today in metaphor either as brainless lunks or as entities serving man under controlled conditions but hostile to him in others. Similarly, it is a Yiddish slang insult for someone who is clumsy or slow.
The classic narrative
The most famous golem narrative involves Rabbi Judah Loew the Maharal of Prague, a 16th century rabbi. He is reported to have created a golem to defend the Prague ghetto of Josefov from Anti-Semitic attacks. The story of the Golem first appeared in print in 1847 in a collection of Jewish tales entitled Galerie der Sippurim, published by Wolf Pascheles of Prague. About sixty years later, a fictional account was published by Yudl Rosenberg (1909).
According to the legend, the Emperor made an edict proclaiming that the Jews in Prague were to be either expelled or killed (depending on the version of the story). A golem could be made of clay from the banks of the Vltava river in Prague. Following the prescribed rituals, the Rabbi built the Golem and made him come to life by reciting special incantations in Hebrew. The Rabbi's intention was to have the Golem protect the Jewish community from harm. As Rabbi Loew's Golem grew bigger, he also became more violent and started killing the Gentiles (non-Jews) and spreading fear. Some versions also add that the Golem turns on his creator and attacks either his creator alone or the creator and the Jews as well.
In the face of the strength demonstrated and violence perpetrated by the Golem, the Emperor begs Rabbi Loew to destroy the Golem, and in return he would promise that the persecution of and violence towards the Jews would stop. The Rabbi accepted this offer. To destroy the Golem, he rubbed out the first letter of the word "emet" or "aemaeth" (God's truth) from the golem's forehead to make the Hebrew word "met" or "maeth", meaning death. It was made clear to the Emperor that the Golem of Prague's remains would be stored in a coffin in the attic of the Altneuschul in Prague, and it can be summoned again if needed. By legend, that coffin with the unformed earth inside is still there today.
The existence of a golem is sometimes a mixed blessing. Golems are not intelligent - if commanded to perform a task, they will take the instructions perfectly literally.
In some incarnations of the legend of the Maharal's golem, the golem has powers that can aid it in its tasks. These include invisibility, a heated touch, and the ability to use the Maharal's walking stick to summon spirits from the dead. This last power was often crucial, as the golem could summon dead witnesses, which the medieval Prague courts would allow to testify.
The golem in European culture
In the late nineteenth century the golem was adopted by mainstream European society. Most notably Gustav Meyrink's 1915 novel Der Golem based on the tales of the golem created by Judah Low ben Bezalel. This book inspired a classic set of expressionistic silent movies, Paul Wegener's Golem series, of which especially The Golem: How He Came Into the World (also released as The Golem, 1920, USA 1921) is famous. Another famous treatment from the same era is H. Leivick's 1921 Yiddish-language "dramatic poem in eight sections" The Golem. Also notable is Julien Duvivier's "Le Golem" (1936), a sequel to the Wegener film. Nobel prize winner Isaac Bashevis Singer also wrote a version of the legend.
These tales saw a dramatic change, and some would argue a Christianization[citation needed], of the golem. The golem became a creation of overambitious and overreaching mystics, who would inevitably be punished for their blasphemy, as in Mary Shelley's Frankenstein and the alchemical homunculus.
The Golem in the Czech Republic
The Golem is a popular figure in the Czech Republic. There are several restaurants and other businesses named after him. Strongman René Richter goes by the nickname "Golem", and a Czech monster truck outfit calls itself the "Golem Team".
It is said that the body of Rabbi Loew's golem lies in the attic where the genizah of the Old-New Synagogue in Prague is kept. A rabbi visited the attic in the late 20th century, and came down "white and shaking"[citation needed]. A legend is told of a Nazi agent during World War II ascending the attic and trying to stab the golem, but perishing instead.[citation needed] The attic is not open to the general public.
The Golem got a main role in the 1951 Czech movie Císaruv pekar a pekaruv císar.
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| [ The Monster of Fate ] |
Origins of the word
The word golem is used in the Bible to refer to an embryonic or incomplete substance: Psalm 139:16 uses the word "gal'mi", meaning "my unshaped form" (in Hebrew, words are derived by adding vowels to triconsonantal roots, here, g-l-m). The Mishnah uses the term for an uncultivated person ("Ten characteristics are in a learned person, and ten in an uncultivated one", Pirkei Avoth 5:7). Similarly, golems are often used today in metaphor either as brainless lunks or as entities serving man under controlled conditions but hostile to him in others. Similarly, it is a Yiddish slang insult for someone who is clumsy or slow.
The classic narrative
The most famous golem narrative involves Rabbi Judah Loew the Maharal of Prague, a 16th century rabbi. He is reported to have created a golem to defend the Prague ghetto of Josefov from Anti-Semitic attacks. The story of the Golem first appeared in print in 1847 in a collection of Jewish tales entitled Galerie der Sippurim, published by Wolf Pascheles of Prague. About sixty years later, a fictional account was published by Yudl Rosenberg (1909).
According to the legend, the Emperor made an edict proclaiming that the Jews in Prague were to be either expelled or killed (depending on the version of the story). A golem could be made of clay from the banks of the Vltava river in Prague. Following the prescribed rituals, the Rabbi built the Golem and made him come to life by reciting special incantations in Hebrew. The Rabbi's intention was to have the Golem protect the Jewish community from harm. As Rabbi Loew's Golem grew bigger, he also became more violent and started killing the Gentiles (non-Jews) and spreading fear. Some versions also add that the Golem turns on his creator and attacks either his creator alone or the creator and the Jews as well.
In the face of the strength demonstrated and violence perpetrated by the Golem, the Emperor begs Rabbi Loew to destroy the Golem, and in return he would promise that the persecution of and violence towards the Jews would stop. The Rabbi accepted this offer. To destroy the Golem, he rubbed out the first letter of the word "emet" or "aemaeth" (God's truth) from the golem's forehead to make the Hebrew word "met" or "maeth", meaning death. It was made clear to the Emperor that the Golem of Prague's remains would be stored in a coffin in the attic of the Altneuschul in Prague, and it can be summoned again if needed. By legend, that coffin with the unformed earth inside is still there today.
The existence of a golem is sometimes a mixed blessing. Golems are not intelligent - if commanded to perform a task, they will take the instructions perfectly literally.
In some incarnations of the legend of the Maharal's golem, the golem has powers that can aid it in its tasks. These include invisibility, a heated touch, and the ability to use the Maharal's walking stick to summon spirits from the dead. This last power was often crucial, as the golem could summon dead witnesses, which the medieval Prague courts would allow to testify.
The golem in European culture
In the late nineteenth century the golem was adopted by mainstream European society. Most notably Gustav Meyrink's 1915 novel Der Golem based on the tales of the golem created by Judah Low ben Bezalel. This book inspired a classic set of expressionistic silent movies, Paul Wegener's Golem series, of which especially The Golem: How He Came Into the World (also released as The Golem, 1920, USA 1921) is famous. Another famous treatment from the same era is H. Leivick's 1921 Yiddish-language "dramatic poem in eight sections" The Golem. Also notable is Julien Duvivier's "Le Golem" (1936), a sequel to the Wegener film. Nobel prize winner Isaac Bashevis Singer also wrote a version of the legend.
These tales saw a dramatic change, and some would argue a Christianization[citation needed], of the golem. The golem became a creation of overambitious and overreaching mystics, who would inevitably be punished for their blasphemy, as in Mary Shelley's Frankenstein and the alchemical homunculus.
The Golem in the Czech Republic
The Golem is a popular figure in the Czech Republic. There are several restaurants and other businesses named after him. Strongman René Richter goes by the nickname "Golem", and a Czech monster truck outfit calls itself the "Golem Team".
It is said that the body of Rabbi Loew's golem lies in the attic where the genizah of the Old-New Synagogue in Prague is kept. A rabbi visited the attic in the late 20th century, and came down "white and shaking"[citation needed]. A legend is told of a Nazi agent during World War II ascending the attic and trying to stab the golem, but perishing instead.[citation needed] The attic is not open to the general public.
The Golem got a main role in the 1951 Czech movie Císaruv pekar a pekaruv císar.
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